Wednesday, September 28, 2011
Saturday, September 17, 2011
Above: Bass Player, 22"x22" encaustic on panel -
SOLD (J.and K.H.)
12"x12" encaustic on panel SOLD (D.S.)
12"x12" encaustic on panel SOLD (S.and R.M.)
12"x12" encaustic on panel SOLD (V.W.)
The four pieces below measure approximately 9 x 12 inches
Above: Don't Hide Them
Above: Living in Acronymia
Sketch Pad Series - The following twenty pieces measure approximately 7x5 - $30 each (unframed, including a small easel ).
Above: G-Major - SOLD (K.C.)SOLD (R.D.)
SOLD (T.& R.W.)
Calligraffiti - Toni Youngblood - September 2011
Along with my training in the tradition of representational drawing and painting, came rigorous design, analytical and critical dialogue. I learned to work with many materials and techniques in art school and later in graduate school in architecture.
During my painting studies, I chose elective courses in graphic design, which included the study of typography. Each week was spent learning the characteristics of a different typeface by carefully drafting the individual letters of its alphabet. The goal of this meticulous exercise was to facilitate the selection of appropriate typefaces for the design of graphic communication such as that used in advertising. The character of a typeface communicates something beyond the written message and may either support the message or distract from it. My interest in the imagery of the written and printed word is rooted in this early training.
After hand drafting alphabets in many typefaces, I have a great appreciation for computer typesetting and word processing programs, stencils and any other expedient tools and methods available to produce letters. With this detailed practice behind me, I am in awe of the phenomenon that only a few shapes or pen strokes can create a letter or symbol that, when appropriately grouped, produces words that express ideas. And I revel in the loose flowing motion of hand writing.
In three decades, my preference has evolved into using a broad brush and less literal technique. Rather than represent only what the eye sees---a compilation of physical features---I am more interested in interpreting what I see and feel in its essence, its nature. In music, it would be improvisation over straight melody. In some ways, I think this process is like designing a logo---paring down in graphic form the nature and essence of a business.
Beach tide as it glades across sand – Beach Tide, 2009
What I “see” when I close my eyes and listen to music – Where Music Lives, 2009
Cursive pen strokes of a hand-written message – Dreamt in Italian, 2009
A wave of bliss – Suffering Happiness, 2009
Mid-night rumblings of an active volcano on the
island of Sicily – Thank you, !, 2009 Mt. Etna
Warmth, texture and color of a favorite medieval Italian hill town – Todi, 2009
Calligraffiti is the continuation of a series of works I began a couple of years ago. Those first paintings were composed of layers of acrylic paint using a mask or frisket of wax---applying a layer of paint, applying clear wax frisket with a brush or drip technique, then applying paint of a different color, then removing the wax at critical points in the process to reveal color layers beneath. The resulting figures resembled written language in form, order and pattern.
The more recent works which are shown in this exhibit are created with encaustic (color pigment mixed with hot beeswax and damar resin crystals for hardening) and compatible mixed media, such as oil pastel crayon, paper pieces, nails and other found objects. Encaustic painting, as a medium, is over 2000 years old.
Toni Youngblood –
Salt Lake City, Utah
Bachelor of Art – Painting,
California State University, San Jose
Master of Architecture,
University of Washington, Seattle